Tag Archives: Disney

“Brave” courageously goes where Disney and Pixar haven’t really gone before

Disney has obviously built its kingdom on recreating ancient folk tales that center around the animated adventures of various mythical princesses. Pixar, however, usually sticks to more contemporary computer animated tales about creatures in the toy box, in the closet or under the sea. With Brave, the two combine their talents for a visually magnificent CGI fairy tale filled with somewhat subversive adult humor and a moral that’s more empowering than the typical Disney damsel in distress.

 

Merida (Kelly Macdonald) follows a will o' the wisp to her new fate in "Brave"

Merida (voiced by Kelly Macdonald) is a defiant young princess who would rather explore her Scottish Highland surroundings with her trusty bow and arrow than be the prim and proper lady Queen Elinor (Emma Thompson) wants her to be. Her father, King Fergus (Billy Connolly), finds Merida’s defiance endearing, and her trouble-making triplet siblings appreciate that she sneaks them fresh-baked sweets under the dinner table. But when her parents invite three suitors to compete for Merida’s companionship, the young princess flees into the woods, only to have will o’ the wisps (small blue fairy flames known for leading people to new fates, not the masked character once portrayed by Jeff Hardy) direct her to a mysterious cottage occupied by a strange old woman (Julie Walters) who carves things (mostly bears) out of wood.

The triplets have a sweet tooth, which means trouble when there's a pastry with a spell on it lying around

Preying on Merida’s apparent adolescent frustrations towards the queen, the old woman offers Merida a pastry that will “change” the queen after she consumes it. But the change that takes place isn’t quite what Merida had in mind and she soon finds herself hiding in the woods with the bear that used to be her mom. To make things worse, Fergus is highly regarded for his conquests over ferocious bears and has an innate desire to add more to his taxidermy collection. And don’t forget about the triplets and their collective sweet tooth.

All Merida asked for was to change her fate, and she soon realizes she should have been a little more specific about that before making a deal with a witch in the woods. But as this red-haired beauty and her beast of a mother try to figure out how to undo this spell, they not only have to comically evade the bear-hungry king, they also learn a lot about themselves and each other. But the queen is becoming more and more like a bear and less and less like her human self as time goes on, so they must hurry before the curse becomes permanent.

While the girls are away, the three potential suitors have created chaos back at home, and the king seems to be reveling in it. But at the urging of her mother (who’s transformation has given her a fresh perspective and a change of heart), Merida brings order back to the castle by breaking tradition and introducing the novel idea that people should have free will when it comes to marriage rather than going along with arranged romances. But before we see a happily ever after, there just has to be a big bear battle. And it’s a good one as the very same bear responsible for the king’s peg leg shows up and Merida’s mommy bear takes on the challenge.

Mama bear saves Merida from the mean bear in "Brave"

Brave showcases the courage of women (and men) who stand up for what they believe in, while also teaching lessons about how to do that without harming those around them. It’s when that balance is struck that the fairy tale ending can truly happen. But the real star of this movie is Pixar, whose work here is unlike anything that’s been seen in the studio’s previous movies. From Merida’s realistic red hair to the rain cascading down the castle’s stone walls to astonishing aerial views of Scottish landscapes, the animation in Brave blends surrealistic caricatures with eerily realistic elements for visual magic unlike anything Disney has done before. And it’s these visual and thematic progressions that make this otherwise traditional Disney tale an eye-opening new adventure.

Brave. Directed by Mark Andrews, Brenda Chapman and Steve Purcell. Starring Kelly Macdonald, Emme Thompson and Billy McConnolly. Rated PG. www.disney.com/brave.

If you think you’ve seen “John Carter” before, it’s because you have (sort of)

Even before you sit down to watch the new Disney film John Carter, there’s something awfully familiar about pretty much anything you’ve seen about the movie leading up to its release. But once the interplanetary action begins to unfold, the déjà vu really starts to set in. The weird thing is, that familiarity comes from many different sources.

These are not the, um, Tharks you're looking for.

In much the same way that the recent Journey 2: The Mysterious Island (read my review here) blurs the lines between fantasy and reality by presenting the works of Jules Verne, Robert Louis Stevenson and Jonathan Swift as non-fiction, John Carter is told from the perspective of author Edgar Rice Burroughs as if he is reading the memoirs of his uncle, the real Carter (Taylor Kitsch). Carter’s abrupt jump from post-Civil War adventures in the American Wild West to the similar terrain of Barsoom plays out in much the same way as 1984’s The NeverEnding Story, with the viewer seeing the action as Burroughs reads it.

Upon his mysterious arrival on this unfamiliar planet, Carter soon learns that there are some big differences between the deserts he was just traversing on Earth and the arid landscape of what we soon learn to be Mars, which is in a Mad Max-like state of unrest as its inhabitants are at odds and its natural resources are dwindling. After some clumsy trial and error, Carter discovers that he has almost Superman-like strength on Mars, and he can leap tall buildings in a single bound. These special powers soon attract plenty of attention from the natives. Though he is unable to fly, the red-skinned humans of Helium (who unfortunately do not talk like munchkins as you might expect of people who live in Helium) have mastered that technique with their floating ships, years before the inhabitants of Carter’s home planet have ever seen such things. (You see what they did there, with the people from Helium being able to fly? Clever.)

Thanks in large part to the beauty and spunk of Helium’s Princess Dejah Thoris (Lynn Collins), Carter quickly falls in with her people in their fight against the Zodangans (also human) and the Tharks (tall green creatures that look like a cross between the creatures from Avatar and Star Wars‘ General Grievous, with

Should I pet you or run for my life?

Predator-like tusks on their faces). And from the pod race-like scenes to the premise of an unlikely leader and his rag-tag group of allies (including a dog-like creature that is clearly a giant salamander/Boston terrier mix with six legs) trying to unite opposing factions against a common enemy, John Carter has George Lucas written all over it. Or is it the other way around?

The reason so many things in John Carter seem so familiar is because the Burroughs book on which it is based (A Princess of Mars) was a huge influence on Lucas, James Cameron and many other sci-fi and fantasy writers and directors. So its not that this film borrows heavily from other stories, but that those stories have been borrowing heavily from this and other Burroughs works for decades (he’s also responsible for the Tarzan books). Though the movie is an accurate adaptation of Burroughs’ original adventure, and it’s a rare combination of visual accomplishment (in 3-D no less) and an intriguing story, it’s doubtful most moviegoers will realize that movies like Star Wars, Flash Gordon and Avatar likely wouldn’t exist had the John Carter books not been written.

Regardless of that potentially inevitable setback, the movie has a lot going for it. Director Andrew Stanton has proven himself with the animated features Finding Nemo and WALL-E, and John Carter is definitely a great introduction to what he can do in a live action setting. And like so many other live action Disney movies (20,000 Leagues Under the Sea comes to mind), John Carter is sure to become one of those movies that ingrains itself into the minds of children and other adventurous spirits.

Princess Dejah Thoris (Lynn Collins) is about find out what happens when an Earth guy asks you to pull his finger.

The only weak link in the story comes when a Carter-sympathizing Thark gives him some sort of potion that connects him to Barsoom, allowing him to suddenly understand the planet’s inhabitants, regardless of what language they speak. In turn, they can also understand him despite his Virginian dialect. Though this magical potion and its abilities seem a bit far fetched, at least this movie offers some sort of explanation as to why people from different planets are able to understand each other, unlike many sci-fi and fantasy stories.

But with all the unifying monster-fighting action, the developing love story and visually stunning 3-D effects, John Carter is sure to please most moviegoers, even if many of them think its ripping off all the movies it has inspired. And with ten sequels in Burroughs’ Barsoom series, Disney has plenty of opportunity to create a new sci-fi film franchise.

John Carter. Directed by Andrew Stanton. Starring Taylor Kitsch, Lynn Collins, Willem Dafoe, Thomas Haden Church, Samantha Morton, Ciarán Hinds, Mark Strong and Dominic West. Rated PG-13. www.disney.go.com/johncarter/.

“The Secret World of Arrietty” explores a magical world beneath our feet

It’s been a long journey for Arrietty to make it to the United States, especially for a girl as small as she is. But after debuting in 1952 in a series of children’s books called The Borrowers by British author Mary Norton, then being adapted for the screen by highly influential manga artist Hayao Miyazaki and Keiko Niwa, The Secret World of Arrietty became one of the biggest Japanese films of 2010 (and of all time, for that matter). Leave it to the magic of Disney to bring the Hiromasa Yonebayashi-directed animated fantasy to America.

Arrietty (voiced by pop singer Bridgit Mendler) and her family of Borrowers live in a little brick house in a Tokyo suburb. Their house is so small, in fact, that it exists under the floorboards of another house occupied by Beings. If you haven’t figured it out by now, the Borrowers are fairy-like creatures (small, but without wings or magical powers) whose world must be kept secret from the Beings (regular-sized human beings), but whose survival depends on “borrowing” what they need from the humans while the humans aren’t looking. Just before she is to accompany her father (a man of few words voiced by the gruff-sounding Will Arnett) on her first borrow (a rite of passage for a Borrower of her age), a human boy (voiced by How I Met Your Mother‘s David Henrie) catches a glimpse of Arrietty in the bushes of his aunt’s yard.

The borrow itself is one of the film’s many adventures, as Arrietty and her father traverse through the inner walls of the house, rappelling up and down cupboards in order to retrieve necessities (in amounts that will last the Borrowers weeks but are too small to even be noticed by the humans). After Arrietty inadvertently drops a sugar cube while returning from the borrow, the interaction between her and her human counterpart progresses into a friendship. Though she tries to keep this new friendship a secret from her parents (especially her neurotic mother, voiced by Amy Poehler), they soon find out. And even though she is confident that the Borrowers’ secret is safe with the boy, especially since he is terminally ill, her parents insist that they must move. History has proven that once humans learn of their tiny cohabitants, it never ends well for the Borrowers.

The human housekeeper (Carol Burnett) eventually catches on and proves just why Borrowers and Beings cannot coexist. Sadly she is the bad apple that spoils the bunch, since we also learn that the boy’s family has tried to befriend the Borrowers before, going so far as to build an elaborate dollhouse in hopes that the Borrowers would take up residence.

In the tradition of Miyazaki films like My Neighbor Totoro and Sprited Away, The Secret World of Arrietty takes the viewer into a world of childlike innocence that is threatened by the ignorance of an adult. And through such thoughtful details and accuracies as the way liquids pour in what appear to be large globs in the Borrowers’ world (they’d only be tiny drops to us), Arrietty offers a sense of authenticity despite its fantastical premise. And thanks to the resourcefulness of the two children, not even the crotchety housekeeper is able to fully expose the Borrowers as they prepare to move on to new adventures.

The Secret World of Arrietty. Directed by Hiromasa Yonebayashi. Starring Bridget Mindler, Amy Poehler, Carol Burnett, Will Arnett and David Henrie. Rated G. www.disney.com/arrietty.

Review by Jonathan Williams